"Memorial Theatre. Other actors who have distinguished themselves in the role of Angelo include Charles Laughton, Ian Richardson, Brian Bedford, and John Cazale. Angelo (Measure for Measure) Angelo is a character in Shakespeare's play ""Measure for Measure"". He is the play's main antagonist. Angelo is the deputy to the Duke of Vienna, Vincentio. Vincentio begins the play by departing the city under mysterious circumstances and leaving the strait-laced Angelo in power. Angelo's first act is to begin the enforcement of an old law that makes fornication punishable by death. He proves himself a hypocrite when Isabella, the sister of Claudio"
"company Cheek by Jowl staged a Russian-language version of the play in association with the Pushkin Theatre, Moscow, and the Barbican Centre, London. The production was directed by Declan Donnellan and designed by Nick Ormerod. In 2018, Josie Rourke directed a uniquely gender-reversal production of the play at the Donmar Warehouse in London, in which Jack Lowden and Hayley Atwell successively alternate the roles of Angelo and Isabella. Measure for Measure Measure for Measure is a play by William Shakespeare, believed to have been written in 1603 or 1604. Originally published in the ""First Folio"" of 1623, where it was"
"""Measure for Measure""; there is a direct quotation of Shakespeare's play in regards to a character of the same name. In Shakespeare's play, Mariana is rejected by the character Angelo and lives alone as she pines over her love. Tennyson's version is set in Lincolnshire, not Vienna as in the Shakespeare play. This makes the characters completely English. Additionally, the scene within the poem does not have any of the original context but the two works are connected in imagery with the idea of a dull life and a dejected female named Mariana. Tennyson is not the only one that"
"Meilaender has argued that ""Measure for Measure"" is largely based on biblical references, focusing on the themes of sin, restraint, mercy, and rebirth. ""Measure for Measure"" is believed to have been written in 1603 or 1604. The play was first published in 1623 in the First Folio. In their book ""Shakespeare Reshaped, 1606–1623"", Gary Taylor and John Jowett argue that part of the text of ""Measure"" that survives today is not in its original form, but rather the product of a revision after Shakespeare's death by Thomas Middleton. They present stylistic evidence that patches of writing are by Middleton, and"
"a producer to give a modern psychological or theological reading of both the characters and the overall message of the play. Notable 20th century productions of ""Measure for Measure"" include Charles Laughton as Angelo at the Old Vic Theatre in 1933, and Peter Brook's 1950 staging at the Shakespeare Memorial Theatre with John Gielgud as Angelo and Barbara Jefford as Isabella. In 1957 John Houseman and Jack Landau directed a production at the Phoenix Theatre in New York City that featured Jerry Stiller and Richard Waring. The play has only once been produced on Broadway, in a 1973 production also"
"of ""Measure for Measure"" took place on St. Stephen's night, 26 December 1604. During the Restoration, ""Measure"" was one of many Shakespearean plays adapted to the tastes of a new audience. Sir William Davenant inserted Benedick and Beatrice from ""Much Ado About Nothing"" into his adaptation, called ""The Law Against Lovers"". Samuel Pepys saw the hybrid play on 18 February 1662; he describes it in his Diary as ""a good play, and well performed"" – he was especially impressed by the singing and dancing of the young actress who played Viola, Beatrice's sister (Davenant's creation). Davenant rehabilitated Angelo, who is"
"Measure for Pleasure Measure for Pleasure is a play written by David Grimm, and first played in 2006. It is set in the style of a Restoration comedy and concerns the romantic couplings of a host of nobles and servants. Set in 1751, ""Measure for Pleasure"" uses classic farce, including mistaken identities, mismatched lovers, deception and wordplay. Theater critic Anthony Del Valle summed the plot as follows: The play has garnered mixed reviews from critics. The New York Times' Charles Ishenwood's review was mostly positive:""Clearly a labor of love for a playwright as enamored of the lively cadences of Restoration"
"to other leading men of the day, including Francis Bacon and Roger Manners, 5th Earl of Rutland, for emendations and additions. Evans drew on a recent argument that the plot of ""Measure for Measure"" was similar to the events that occurred in Paris in 1582, when the king Henry III of France was absent. In his place, the governor Jerome Angenouste condemned an individual called Claude Tonart to death for fornication, just as Claudio is in the play. Tonart had seduced the daughter of the president of the Parlement of Paris. Like Claudio he was eventually pardoned. Evans argues that"
"framing. The ""Prefaces to Shakespeare"" episode for ""Measure for Measure"" was presented by Judi Dench, who had played Isabella in a 1962 RSC production directed by Peter Hall. The ""Shakespeare in Perspective"" episode was presented by barrister and author Sir John Mortimer. Cast The second of only two episodes shot on location, after ""As You Like It"". However, whereas the location shooting in that episode was heavily criticised as taking away from the play, here, the location work was celebrated. The episode was shot at Leeds Castle, Penshurst Place and Hever Castle, in the actual rooms in which some of"
"Measure"" is considered one of Shakespeare's problem plays because it deviates from the traditional comedy. Angelo's character is a major reason for this classification because Shakespeare created him with tragic qualities, but framed his character within a comedy. ""Measure for Measure"" was rarely performed until Samuel Phelps played Duke Vincentio at the Sadler's Wells Theatre in the 1840s. The play proved to be more popular with audiences in the twentieth century, with Angelo being the most attractive role for actors. The most famous performance of the role was by John Gielgud in Peter Brook's legendary 1950 production at the Shakespeare"
"Metra Theatre Metra Theatre is an east London based theatre company established in August 2005. The company specialises in taking on what they perceive to be 'dormant' texts and bringing them to life, making them accessible to modern theatre audiences. They strive to keep admission costs to their productions low to draw in audiences who would not normally go to the theatre. Metra Theatre consists of artistic director Tanya Roberts, Jessica Stanley, Josephine Rogers, and Lee-Diep Chu. Nine graduating students, fresh from London Metropolitan University were chosen to perform William Shakespeare's ""Measure for Measure"" at the International Shakespeare festival in"
"Company, the first true repertory company in theatre in England. He directed many of the early plays of George Bernard Shaw and John Galsworthy. In 1907, Payne used William Poel to direct ""Measure for Measure"", by William Shakespeare, with the Manchester Repertory Company. Poel was an early-twentieth-century innovative advocate of producing Shakespeare plays as written, without the heavy scenery and butchered text of grand nineteenth-century productions by the likes of Henry Irving. Poel's production at Manchester Repertory may have been his best, as Payne had cast it with talented, professional actors, and not the amateurs Poel usually worked with. The"
"dilemma that instigates multiple opposing but equally plausible opinions from the audience. Using this theory, Schanzer distinguishes only ""Measure for Measure"" as a Shakespearean problem comedy, identifying both ""All's Well That Ends Well"" and ""Troilus and Cressida"" as lacking of a pivotal ethical dilemma that divides the audience. Schanzer offers ""Julius Caesar"" and ""Antony and Cleopatra"" in the place of previously recognized problem plays. Shakespearean problem play In Shakespeare studies, the problem plays are three plays that William Shakespeare wrote between the late 1590s and the first years of the seventeenth century: ""All's Well That Ends Well"", ""Measure for Measure"""
"to any one of four other individuals. No direct source for the play has been identified, other than Massinger's own earlier play, ""A New Way to Pay Old Debts,"" which was modeled on Thomas Middleton's ""A Trick to Catch the Old One"". Specific connections have been cited between ""The City Madam"" and Shakespeare's ""Measure for Measure"" (regarding Sir John Frugal's pretended absence and masquerade), Ben Jonson's ""Volpone"" (Luke Frugal's rhapsodizing over his wealth), and ""Rollo, Duke of Normandy"" (Stargaze's astrological verbiage), among other works. ""The City Madam"" was adapted into a version titled ""A Cure for Pride"" in 1675. The"
"Dramatic Art in London, where she was awarded the Bancroft Gold Medal. In 1946, whilst still a student, she obtained small parts in the radio production of ""Westward Ho!"" and other radio plays, but her stage debut came in 1949, when she played the part of Viola in ""Twelfth Night"" at the Dolphin Theatre, Brighton. After spending just one year working in repertory theatre, she was given the part of Isabella in 1950 in Peter Brook's production of ""Measure for Measure"" at the Shakespeare Memorial Company, (now the Royal Shakespeare Company) in Stratford-upon-Avon, playing opposite John Gielgud (Angelo) and Harry"
"and ""A Midsummer Night's Dream"". These were well received by critics such as Toby O'Connor Morse of ""The Independent"", who commented on ""Lear"": ""One of the finest productions of Shakespeare – or any other playwright for that matter – seen in Bristol in years"". On ""A Midsummer Night's Dream"", Lyn Gardner of ""The Guardian"" commented: For the 2001 season, the company paired ""Measure for Measure"" with ""Coriolanus"". Both productions were well received; Susannah Clapp of ""The Observer"", reviewing ""Measure for Measure"", stated: and on ""Coriolanus"", Jeremy Kingston of ""The Times"" described the company as ""one of the most exciting theatre"
"that the opera was performed at the school again in 1689. Several scholars have argued that the work was composed for the English court, either for Charles II (and perhaps as early as 1684) or for James II. Following the Chelsea performances, the opera was not staged again in Purcell's lifetime. Its next performance was in 1700 as a ""masque"" incorporated into an adapted version of Shakespeare's ""Measure for Measure"" at Thomas Betterton's theatre in London. After 1705 it disappeared as a staged work, with only sporadic concert performances, until 1895 when the first staged version in modern times was"
"Desperate Measures (musical) Desperate Measures is a musical comedy with music by David Friedman and book and lyrics by Peter Kellogg which is currently playing at New World Stages for an open-ended engagement, directed by Bill Castellino. The show won acclaim with Drama Desk Awards for Best Music and Best Lyrics, and Outer Critics Circle and Off-Broadway Alliance Awards for Best Musical from its run at the York Theatre in 2017. The show is based on William Shakespeare's comedy Measure for Measure. The plot and casting is streamlined with equivalents only for Angelo (Governor Otto Von Richterhenkenpflichtgetruber), Isabella (Susanna/Sister Mary"
"of the traditional Petrarchan lovers. The stock characters in conventional situations were familiar material for Shakespeare and his audience; it is the light repartee and the breadth of the subjects that provide opportunities for wit that put a fresh stamp on the proceedings. At the centre the optimism of Rosalind is contrasted with the misogynistic melancholy of Jaques. Shakespeare would take up some of the themes more seriously later: the usurper Duke and the Duke in exile provide themes for ""Measure for Measure"" and ""The Tempest"". The play, turning upon chance encounters in the forest and several entangled love affairs"
"tragedies, comedies, and histories. In addition, he wrote his so-called ""problem plays"", or ""bitter comedies"", that includes, amongst others, ""Measure for Measure"", ""Troilus and Cressida"", ""A Winter's Tale"" and ""All's Well that Ends Well"". His early classical and Italianate comedies, like ""A Comedy of Errors"", containing tight double plots and precise comic sequences, give way in the mid-1590s to the romantic atmosphere of his greatest comedies, ""A Midsummer Night's Dream"", ""Much Ado About Nothing"", ""As You Like It"", and ""Twelfth Night"". After the lyrical ""Richard II"", written almost entirely in verse, Shakespeare introduced prose comedy into the histories of the"
"Emrys James Emrys James (1 September 1928 – 5 February 1989) was a Welsh Shakespearean actor. He also performed in many theatre and TV parts between 1960 and 1989, and was an Associate Artist of the Royal Shakespeare Company. He was born in Machynlleth, the son of a railwayman, and attended the University of Wales, Aberystwyth. After training at RADA, in 1953 James joined Peter Hall and John Barton's Oxford Playhouse-based Elizabethan Theatre Company. In 1956 he played his first season at Stratford, taking the roles of Guildernstern, Salerio in ""The Merchant of Venice"" and Claudio in ""Measure for Measure""."
"on Shakespeare as well. Davenant and John Dryden worked ""The Tempest"" into an opera, ""The Tempest, or The Enchanted Island""; their work featured a sister for Miranda, a man, Hippolito, who has never seen a woman, and another paired marriage at the end. It also featured many songs, a spectacular shipwreck scene, and a masque of flying cupids. Other of Shakespeare's works given operatic treatment included ""A Midsummer Night's Dream"" (as ""The Fairy-Queen"" in 1692) and Charles Gildon's ""Measure for Measure"" (by way of an elaborate masque.) However ill-guided such revisions may seem now, they made sense to the period's"
"at Trinity College, Cambridge. He joined the Royal Shakespeare Company on graduation and remained in a junior capacity from 1964 to 1966, playing among other things Fortinbras in David Warner's 1965 ""Hamlet"". He then left the company for eight years and worked in London, both on the stage (in John Mortimer's ""The Judge"", Christopher Hampton's ""Savages"" and Tony Richardson's production of ""Hamlet"" with Nicol Williamson), and on TV in many single dramas. He returned to the RSC in 1974 to play Angelo in ""Measure for Measure"", beginning a relationship with the company as a leading actor which culminated in his"
"the 1940s was as Thomas Mendip in ""The Lady's Not for Burning"", which he also directed. The London cast included the young Claire Bloom and Richard Burton, who went with Gielgud when he took the piece to the US the following year. At the Shakespeare Memorial Theatre, Stratford-upon-Avon, Gielgud did much to reclaim his position as a leading Shakespearean. His cold, unsympathetic Angelo in Peter Brook's production of ""Measure for Measure"" (1950) showed the public a new, naturalistic manner in his playing. He followed this with three other Shakespeare productions with Brook, which were well received. His own attempt at"
"Dougall has played a wide range of roles in Shakespeare plays, including ""Henry VIII"", ""Measure for Measure"", ""Coriolanus"", and ""The Winter’s Tale"" for the Globe Theatre, ""A Midsummer Night’s Dream"", ""Twelfth Night"", ""The Taming of the Shrew"", ""Henry V"", ""The Winter’s Tale"", ""Richard III"", ""The Comedy of Errors"" and ""The Merchant of Venice"" for Propeller, and ""Hamlet"", ""Macbeth"", and ""The Two Gentlemen of Verona"" for the Royal Shakespeare Company. Other works has included ""The Devil is an Ass"", ""The Cherry Orchard"", and ""The Crucible"" for the RSC, ""Saint Joan"" at the Strand Theatre; ""Shadow of a Gunman"" and ""John Bull’s"
"then for a year manager of F. R. Benson's company. In 1895 he founded the Elizabethan Stage Society and spent much of his career researching and lecturing on Elizabethan performance. He put his studies to work on stage, as he tried to recreate performances using an open stage, a unified acting ensemble, an uncut text, very little scenery and a swift pace of performance. His work affected many theatre practitioners, most of all Harley Granville Barker. His presentations included Shakespeare's ""Measure for Measure"" (1893) and ""Two Gentlemen of Verona"" (1910), plays by Marlowe and Ben Jonson, Milton's ""Samson Agonistes"" (1900)"
"committing so fully to stage roles that on two occasions it has caused him to be taken to hospital, once with pneumonia and the other with mental exhaustion. In 2000 he performed in the title role of ""Hamlet"" at the Young Vic and later in Tokyo and Osaka. He received several awards for this performance. He also played Angelo in ""Measure for Measure"" for which he won the Critics' Circle Theatre Award; Houseman in ""The Invention of Love;"" and Edgar in ""King Lear"", for which he was nominated for an Olivier Award. These three plays were all staged at the"
"year onward he received important roles in campus stage productions. When Clemenson starred in a Harvard Lampoon sketch comedy show, a Harvard Crimson theatre critic described Clemenson as ""hugely talented actor who can trigger hysteria with any of a dozen subtle expressions or inflections."" Other Crimson critics described his performances in Shakespeare plays as ""a tour de force of sheer talent and intelligence"" (in ""The Winter's Tale"") and ""a very fine and subtle performance"" (in ""Measure for Measure""). He displayed early on his remarkable range when he undertook with inimitable flair and hilarious effect the hugely solemn role of Erde"
"also played the character of 'Doris' in two episodes of the CBBC series, Little Howard's Big Question. She played Joyce, a civilian employee at the police station, in the 2014 crime drama ""Happy Valley"". Bennison has had numerous roles on stage, including Mistress Overdone in the Royal Shakespeare Company's production ""Measure For Measure"", which played at the Theatre Royal in 2003. She also appeared at the Playhouse as the Queen in Cymbeline in ""The Tragedy of Cymbeline"" (2003). Bennison's previous Shakespearean roles have been with the company Northern Broadsides, which ""specialises in performing classical plays in north country accents"". Seen"
"cusp of a life in the theater. Hobart signed on with Louis Morrison to be part of a road company for a season as both an actor and as Morrison's dresser, playing Shakespeare's ""Cymbeline"" and ""Measure for Measure"". During his time with the company, Hobart and another writer wrote a version of ""Faust"" that Morrison used for twenty years in repertory. By 1887, he was acting at the Alcazar Theatre in San Francisco. He became proficient enough on stage to give Shakespearean canon by the time he was twenty-one years old, though he admitted that he was the worst Macbeth"
"direct, produce, manage, tech, market and perform their own 45 minute abridegment of a Shakespeare play. 118 groups took part in 35 theatres. Shakespeare 24 (S24) was an exciting worldwide Shakespeare performance event beginning in New Zealand and ending 24 hours later in Hawaii on April 23, 2008. 65 youth groups from 35 countries staged 30 and 45 minute adaptations of Shakespeare's plays at 7pm, local time on Shakespeare’s 444th birthday. One of the best productions from SYF, Jamila Gavin's abridgement of Measure for Measure was performed by the National Youth Theatre at Playhouse in Liverpool. The event was appraised"
"be said in favour of their professed claim to represent a higher standard of morality. Originally published at Mondovì in 1565, they were frequently reprinted in Italy, while a French translation appeared in 1583 and one in Spanish, with 20 of the stories, in 1590. They have a peculiar interest to students of English literature, for providing the plots of ""Measure for Measure"" and ""Othello"". That of the latter, which is to be found in the ""Hecatommithi"", was almost certainly read by Shakespeare in the original Italian; while that of the former is probably to be traced to George Whetstone's"
"first of dozens of distinguished critics who could not comprehend how Mariana could love and plead for someone like Angelo, and in general showed a distaste for much in ""Measure for Measure"". Yet, unlike Coleridge, and despite his own reservations, Hazlitt found much to admire in ""Measure for Measure"", a ""play as full of genius as it is of wisdom."" He quotes at length passages of ""dramatic beauty"", and also finds occasion to use this play as an example supporting his characterisation of the general nature of Shakespeare's genius, and the relation between morality and poetry. ""Shakespear was in one"